Mark Bedard (left) is Vladimir and Mark Anderson Phillips is Estragon in Samuel Beckett’s Waiting for Godot, now at Marin Theatre Company. Below: James Carpenter (left) as Pozzo and Ben Johnson as Lucky complicate the barren landscape. Photos by Kevin Berne
I suspect Samuel Beckett knew exactly what he was doing when he wrote Waiting for Godot and left more questions unanswered than answered. The less specific you are, the more your audience members project their own business onto the characters and their situation.
The world Beckett creates could be the depressed past or the post-apocalyptic future. He could be writing about God and religion or about the hell of human existence. His main characters, Vladimir and Estragon, could be clowns or tragic figures or both. It’s all up for discussion, open for interpretation. Everything is symbolic or nothing is symbolic and just is what it is and the population has increased. And that’s the genius of Beckett and the joy of his most famous play.
The first time you experience Godot is often the best (if you’re fortunate enough to see a solid production). My first time – and to consider this a theatrical deflowering is not at all inappropriate – was in the early ’90s on a stage in the Central YMCA in San Francisco’s skeevy Tenderloin neighborhood. Dennis Moyer was directing for Fine Arts Repertory Theatre, and it starred John Robb and Joe Bellan in the leads, with a mind-blowingly brilliant Dan Hiatt as Lucky. This production demonstrated to me just how transcendent Beckett could be: funny and sad at the same time, crude and enlightened, bleak and hopeful. So many contradictions in one theatrical experience and yet so completely entertaining and moving.
That production is my high-water mark for Godot (although I love the original cast recording with Burt Lahr as Estragon and E.G. Marshall as Vladimir: click here to download on Amazon for a mere $3.56). I’ve seen productions since that I liked, but not one I loved as much as the first time.
But the current production at Marin Theatre Company directed by Artistic Director Jasson Minadakis comes pretty close. Mark Anderson Phillips as Estragon and Mark Bedard as Vladimir are, in a word, adorable. Should these crusty characters be adorable? Why not? Both of them at various times reminded me of dogs (and I noticed for the first time just how many canine references there are in the play), and sometimes Phillips even sounds like Scooby-Doo. Their clowning is inspired, but it’s all done with heart. I really liked these guys, who affectionately call each other Gogo and Didi, and that affection only magnifies their plight.
And just what is their plight? Living life is the short answer. Killing time. Waiting for whatever or whoever it is with the power to suddenly make their lives better, more interesting or somehow more meaningful. Vladimir, who tends to be more of an optimist than Estragon, says about life: “We wait. We are bored. No, don’t protest, we are bored to death, there’s no denying it…In an instant all will vanish and we’ll be alone once more, in the midst of nothingness!”
Much of Godot is about staving off boredom or at least creating the illusion of activity or some kind of momentum through the world. Waiting is, after all, an activity, and an exhausting one at that. It can even be exhausting just to watch men waiting, although in the hands of talented actors like the ones on the MTC stage, it’s also entertaining.
Phillips and Bedard make a captivating tragicomic duo. There’s real chemistry between them, and it’s easy to see why, even though they talk constantly of separating, they can never part. In this day and age, you could see how Didi and Gogo might be poster children for same-sex marriage minus the sex (which is what makes it marriage, ba dum bum). They’re partners in the futility, frustrations and occasional fun of life, and we root for them, not necessarily to succeed, which seems a tall order, but at least to rise above the misery and tedium from time to time. There are little details in their performances that are priceless, like Bedard’s penguin-like shuffle and the way Phillips keeps buttoning and unbuttoning a top button on his coat even though there is no button.
When James Carpenter and Ben Johnson arrive as Pozzo, a master, and Lucky, a slave, respectively. The play takes a decidedly darker turn. Both Carpenter and Johnson are in fright makeup. Carpenter looks like something out of a Tim Burton movie (the red hair is a nice touch) and Johnson looks like a member of the Addams Family.
But the show belongs to Phillips and Bedard, two lovably sad guys being human under bleak but not impossible circumstances. I do find myself wondering, though, where their clothes and bowler hats came from, where they shower (if they do) and how they subsist on a diet of turnips, carrots and black radishes. Clearly, they live in a world that still puts a lot of faith in the Bible (there are lots of references), and down the road there’s apparently some sort of fair where Pozzo was going to sell Lucky but ends up blinded (and Lucky is rendered mute). It’s a strange in-between world Beckett has created, a time-bending absurdist purgatory built for entertainment and, if you’re in the frame of mind, enlightenment. The simple but expert design certainly helps (clean, bright lighting by York Kennedy, barren tree and rock landscape by set designer Liliana Duque Pineiro, tattered suits by costumer Maggie Whitaker).
Seeing Godot in 2013, I couldn’t help thinking about a comment a friend made recently: “Don’t worry about me. I’ll have my iPhone with me, and when you have an iPhone, you always have a friend.” Perhaps we should start calling our smart phones and tablets Didi or Gogo. They’re our newest defense against boredom, our electronic shield from the great void of simply existing and a powerful illusion that we’re actually connected to other people and a way to masque the howling of existential angst.
FOR MORE INFORMATION
Samuel Beckett’s Waiting for Godot continues through Feb. 17 at Marin Theatre Company, 397 Miller Ave., Mill Valley. Tickets are $36-$57. Call 415-388-5208 or visit www.marintheatre.org.